Dança Dos Bad Kuduro Download __FULL_

The roots of kuduro can be traced to the late 1980s when producers in Luanda, Angola started mixing African percussion samples with zouk bton ("hard" zouk) and soca to create a style of music then known as Batida ("Beat"). European and American electronic music had begun appearing in the market, which attracted Angolan musicians and inspired them to incorporate their own musical styles. Young producers began adding heavy African percussion to both European and American beats. In Europe, western house and techno producers mixed it with house and techno.[1] Kuduro is primarily a genre of electronic dance music. In addition to the aforementioned influences, Kuduro also incorporates regional styles that are based on global and local influences that highlight sonic expressions of personal and collective identities. These collective and personal identities were formed due to Angola's turbulent history.[2]

The evolution of kuduro has been largely determined by the technology available to its musicians and producers. The earliest kuduro musicians typically composed their tracks on all-in-one sequencer/sampler workstations brought back to Angola by middle-class youth who had spent time in Europe. The limited memory of these sequencing machines provides one explanation for the short loop-based format of early kuduro. The gradual liberalization of Angola's economy in the early 2000s made personal computers more widely available to the general population, enabling producers to compose tracks using production programs such as Fruity Loops (later renamed FL Studio). This pattern-based software vastly expanded the sonic potential of kuduro, as producers could incorporate synthesized sounds built into the Fruity Loops program. Furthermore, because Fruity Loops was vulnerable to piracy, kuduro was effectively democratized, allowing lower-class Angolans in the musseques (settlements built to house the Angolan poor) to contribute to the music's development. The democratization of kuduro, in turn, allowed the music to proliferate widely, quickly becoming one of the most popular forms of music in Angola and solidifying as a distinct genre, identifiably different from its influences such as house music. In 2003, the rebranded FL Studio upgraded its software to allow multi-track recording and the direct recording of audio into a project. This technological revolution further expanded the possibilities for kuduro production, allowing musicians to record vocals from home, without having to visit a formal studio.[12]

Dana Dos Bad Kuduro Download

Download 🔥 https://urloso.com/2y5IUV 🔥

There were three primary generations of kuduro that each lasted nearly a decade. Through all generations, the primary common vein was storytelling of social and political messages. These messages are innately representative of the diaspora as it spreads the influence of Africanness transnationally, using African-originated and influenced sounds as a global genre.[2]

During this generation, kuduro musical compositions were crafted using all-in-one sequencer/sampler keyboards and workstations. These musical tools were reintroduced to Angola by middle-class youth who had spent time in Europe. A considerable number of young individuals, endowed with the necessary resources, pursued education abroad, thereby mitigating exposure to the most severe aspects of the Civil War. Due to limited memory capacity in the sequencers utilized, early kuduro productions relied on arrangements based on concise loops. The scarcity of multi-track recording technology compelled the recording of these arrangements directly onto tape or CD writers, precluding the option of overdubs.

The incorporation of vocals in kuduro productions from this generation was restricted, owing to a dearth of studios equipped for vocal recording in Angola during the early 1990s. Nevertheless, the loop-centric and instrumental nature of early kuduro compositions resonates with the influences of house and techno genres that inspired the initial producers. These artistic choices stem from a combination of technical constraints and deliberate creative decisions.[2]

This generation had a 'do it yourself' aesthetic which expanded the industry through establishing lower-income neighborhoods as the center of production. By this time, many home studios were based around Fruity Loops which were sequencers that incorporated a range of synthesizers and samples. The increase in availability of computers and pirated technology, especially the music production software FruityLoops made kuduro more widely available to the masses for production. This generation was characterized by sped-up versions of the first generation's tempo at 140 beats per minute. "Urgent" vocal styles were used in kuduro songs during this generation.

In the Lisbon variety (or progressive kuduro), which mixes kuduro with house and techno music, Buraka Som Sistema a Portuguese/Angolan electronic dance music project based in Portugal, was responsible for the internationalisation of kuduro, presenting the genre across Europe. It featured in several international music magazines, after their appearance with their hit "Yah!" ("Yeah!"). Buraka Som Sistema takes its name from Buraca, a Lisbon suburb in the municipality of Amadora.[14] Since the explosion of the Buraka Som Sistema, kuduro dance performance videos find an increasing audience on internet video platforms like YouTube. The videos range in quality from MTV standard to barely recognizable mobile-phone footage.

The film I Love Kuduro directed by brothers Mrio and Pedro Patrocnio and Coron D premiered with great success at the International Film Festival of Rio de Janeiro, the largest film festival in Latin America, and at Portugal, in DocLisboa. I Love Kuduro was shot in Angola and presents the origin of the kuduro phenomenon.[19][20][21]

M.I.A. has supported kuduro music, working on the song "Sound of Kuduro" with Buraka Som Sistema in Angola. "It initially came from kids not having anything to make music on other than cellphones, using samples they'd get from their PCs and mobiles' sound buttons," M.I.A. said of kuduro. "It's a rave-y, beat oriented sound. Now that it's growing, they've got proper PCs to make music on."[22]

So what exactly is kuduro? Choreographer Manuel Kanza, who goes by his last name and who has been traveling the world with Os Kuduristas, says it's all about the dance. "It's inspired by so many things around our environment, our world," Kanza says. "Anything can make a kuduro move. For example, we also imitate the movement of a frog, the movement of animals, the marching of soldiers. Everything can make a movement."

It's also music of the streets that spreads virally, says Marissa Moorman, a professor of African history at Indiana University who specializes in this style. "It's sort of everywhere. It's played very widely on what are called candongueiros, which are these collective taxis, essentially, which are maybe 12- or 15-seater vans. It's the most common form of transportation [in the capital Luanda]," she says. "Even though the radio station will play some kuduro, most kuduro is produced in studios in the musseques, which are shantytowns. So most artists will produce in the museq studios and then hand out copies of their CDs to candongueiro drivers and get them to play it in order to popularize it and promote it."

"You know, when kuduro started, we were a country at war, and our young people and even our older generation was trying to make their kids, children, nieces and nephews and neighbors, etc., feel comfortable and try to transmit, however possible, a sense of normalcy," says a producer and musician who goes by the name of Coron D. He put the Os Kuduristas project together to introduce the music to audiences beyond Angola. "Kuduro was more a celebration of being alive," he adds, "because we did have our family members were in the army, or lost a leg in a land mine, or something like that, but we wanted to focus on the positive."

In 2008, Lucenzo released his first single, \u201CEmigrante del Mundo.\u201D The song was a radio hit in Portugal. But his next single, \u201CVem Dan\u00E7ar Kuduro\u201D would be an even bigger hit and put him on the trajectory towards international stardom. For the uninitiated, \u201Ckuduro\u201D is an African dance style, popularized in Angola during the 1970s and 1980s. For over 400 years, Angola was a Portuguese colony. As such, the official language of Angola is and was Portuguese. Therefore, \u201Ckuduro\u201D, In Angolan-Portuguese, \u201D means \u201Ccu duro\u201D or hard-ass.

Musician Tony Amado claims for himself the invention of kuduro. He notes that the dance came before the music, putting dance in the forefront of this musical genre. In an interview Amado gave to Angolan national television (the TPA or Televiso Popular de Angola), when asked about the beginning of his singing career, he stated that he actually began dancing long before he became a singer. [3] Then, somehow contradicting himself, he noted that he began playing the piano and singing at the Man Church. He later left the church and began choreographing other important Kizomba musicians, like Eduardo Paim, Ruca Van-Dunem, and Nelo Bastos [4]. In every interview with Tony Amado, as well as in most texts about kuduro, the fact that the dance came before the music is something constantly emphasized. In fact, it is not uncommon that the lyrics are hard to understand because of the loud beats and fast singing. Amado recounts that he came up with kuduro while watching a scene from the film Kickboxer (1989), when Jean Claude van Damme, a little drunk, dances at a bar in Thailand with movements that are stiff and somewhat clumsy [5]. In this scene, Van Damme suddenly replaces his dance moves with fight movements when a group of fighters attacks him. As Hershini Young points out,

The images of dancers climbing buildings and other structures are ubiquitous in kuduro videos. The interview with Tony Amado, mentioned at the beginning of this essay, is mostly filmed on the rooftop of a building in Luanda, reinforcing the ownership of urban spaces with kuduro. Another frequent image is that of people dancing in the streets and stopping traffic. In the video for Eh Ewe, by Bruno M., [32] while Bruno sings in the sidewalk, a dancer performs in the middle of a street parallel to the main avenue, where lots of cars drive by in what appears to be rush hour. In this video, there are also scenes of dancers performing on a rooftop, where we can see other buildings in the background. The video begins with Bruno entering a downtrodden building and unlocking a door covered in graffiti, behind which he finds a dusty mixing table covered by a black cloth. He presses the tab of the computer and the beat starts, unlocking images of the city from the rooftops of Luanda. The first images are high-angle shots, reinforcing the ownership of the city by the kudurista. 17dc91bb1f